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Watching Baggage Claim is kind of like being slapped in the face with an insultingly wet fish. First off, it expects you to buy the carved-out-of-marble-gorgeous Paula Patton as a hopelessly single spinster. Secondly, it offers a selection of such innocuous jokes, only a toddler might mistake them as comedy. But it’s the film’s odious and distasteful ridiculing of its predominantly female audience that brings Baggage Claim’scrashing out of the sky, not even thirty seconds into flight time.

Montana Moore (Patton) is an incredibly beautiful flight attendant who finds it impossible to get a date. And, to compound Montana’s fuckless life, her younger sister is getting married in a month’s time, thereby beating her to the altar of heteronormative happiness! So, using her airline connections, our drop-dead gorgeous heroine ‘accidentally’ runs into all her past boyfriends in a last-ditch effort to track down the elusive ‘Mr. Right’ and get hitched before her little blister.

If the premise of a thirty-day time limit sounds ridiculously arbitrary, that’s because it is. Nonsensical and dripping with conceit, the self-imposed challenge is so artificially contrived, it’s doesn’t even tick the Looney Tunes comedy box. Why is it thirty days? Dreadful writing, that’s why, complete with unfortunately, frivolous and clunky plot devices that are merely the tip of the iceberg of wrongness that haunts this film.

Baggage Claim compounds all its silliness with an air of childish innocence. Take the character names, for instance: Jill Scott plays Montana’s sexually liberated bestie, Gail (because every black woman’s best friend is named ‘Gail’), whose surname is none other than ‘Best’; while the calm and collected neighbour (Derek Luke) is known as… wait for it… Mr. Right. It was genuine surprise to this writer that the obligatory male flight attendant was called ‘Sam Gay’.

While we’re on the subject, Sam (Adam Brody) is the sole believable character of the whole affair, which speaks volumes because he’s a walking (nay, mincing) stereotype. He remains eminently watchable, which is an achievement in itself given that everyone else, down to the extras, is a cartoon character. When Patton’s not convulsively twitching her face or gesticulating weirdly, she’s running to catch a flight, swinging her roller-bag in the air; just as air hostesses really do. Don’t they?

All of the goofiness would be fine if Baggage Claim was in any way funny. However, the only laughs stem from Taye Diggs’ would-be congressman character. Trying and failing to be the quintessential politician’s wife, before storming out Patton yells: “I don’t trust black Republicans!” A lump of satire floating in a sea of doltish buffoonery, it’s a welcome deviation from the gag-inducing gags that abound in this misfiring comedy.

At best, Baggage Claim is a moronic, profoundly dumb exercise in how to bore an audience for 96 minutes. At worst, it’s an offensive dose of misogyny, hammering home every archaic, outdated and plain ole bad cliché about single women Hollywood ever trotted out. Rest assured, total racial equality in making pointless, terrible romantic comedies has been achieved.